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Can be reused/reprinted with credit to www.alexdesigns.com
See them on Facebook here www.facebook.com/album.php?aid=201533&id=793457570
Finished coffee filter.
This photo is part of a tutorial to make a cloth reusable coffee filter.
Tutorial to make these can be found
Beth mae'n bosib creu gyda hen lyfr, plat neu topiau poteli?
What can you make with an old book, plate or some bottle tops?
The Fjord at Klosteret near Skien - 1850
Johan Christian Dahl (1788 - 1857)
Born in Bergen Norway, and trained at the Copenhagen Academy, Dahl nonetheless spent most of his working career in Germany. He is thus claimed by all three schools for their own, although it was his influence on the latter that was more important, as from 1824 until his death he held the senior professorship of art at the Dresden Academy. His memories of his homeland, however, provided him with themes that he reused throughout his career, but it was his attention to nature and use of the plein-air sketch that earned him the Dresden appointment in preference to Friedrich.
Dahl entered the Copenhagen Academy in 1811, as a pupil of C. A Lorentzen, an undistinguished painter who had looked at Vernet and concentrated on exaggerated mountainous views. It was Jens Juel, however, and Dahls exposure to the sketches and paintings made by Eckersberg on his foreign travels, that persuaded him to make use of plein-air sketches, essential to his artistic formation. The young painter also took advantage of his access to the Danish royal collection, strong in the work of Dutch 17th century artists, which led him to appreciate the Nordic landscapes of Jacob v. Ruisdael and Albert v. Everdingen, both of whom influenced his approach to the natural world. In 1818, after leaving the Academy, he made his first trip to Dresden, where he became acquainted with the work of Caspar David Friedrich, whose use of religious symbols in landscape settings also affected Dahl, even though the younger artist was to temper this with stronger naturalism.
Like so many painters, he felt bound to undertake an Italian trip, spending a few months in Rome where he joined the German and Danish expatriates in exploring the Roman Campagna and the Amalfi coast. Upon his return he was appointed to the Dresden Academy where he taught a whole generation of German painters, and continued his relationship with the many Danish artists who passed through on their journey to and from Italy. Dahl, however, like Friedrich, was also as much interested in the spirit of nature as natural phenomena, and in his admiration for honest naïvety (in the words of Franz Pforr) there was no virtuoso brush-work, no bold handling was to be seen; everything presented itself simply, like something frown rather than painted. Nonetheless in his conception of landscape he was a pure naturalist, seizing on the details of rocks and trees and plants and meadows with quite extraordinary mastery; working with amazing facility, but leaving much to chance, he often seemed to surrender himself to the objective (Carus, writing of Dahl). Dahl may be compared with Constable in that both saw landscape as a means of recording moods and impressions, but they lack the bravura of the English master and Dahl was uninterested in experimenting with technique in order to achieve a particular effect of light. In terms of technique his approach was conventional, but nonetheless it was fresh and direct. Dahl was himself a substantial collector who never lost touch with his homeland; indeed, after his death he bequeathed his collection to the Norwegian capital, Oslo, where it provided the basis for the Norwegian National Gallery.
www.nasjonalmuseet.no/en/stories/explore-the-collection/V...
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Bergensian businessman Rasmus Meyer assembled an enormous art collection during his lifetime. Quite cleverly, he bought a number of principal works from Norwegian artists by the end of the 19th century and the beginning of the 20th century.
His dream was a public building where the works of art could be exhibited for a larger audience.
Across two floors, you wander through the golden age of Norwegian art history, from 1880 to 1905 and onwards to 1920. We show works by artists like J.C. Dahl, Hans Gude, Harriet Backer, Christian Krohg, Kitty Kielland, Nikolai Astrup and Erik Werenskiold, as well as Norwegian Matisse students Henrik Sørensen and Jean Heiberg.
We also show historic Bergen interiors in the elegant Blumentahl room with its wall and ceiling paintings from around 1760 covering the entire room.
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Rasmus Meyer ended his own life in 1916, and his heirs donated his collection to Bergen municipality. They stipulated one condition to the municipality: that a public museum should be constructed for the collection.
The building was designed by architect Ole Landmark and was completed in 1924.
Today, Kode and Bergen are home to the world’s third largest Edvard Munch collection. It consists of more than 100 works on paper and 50 paintings, of which most are from Rasmus Meyer’s collections. Rasmus Meyer was among the first distinguished collectors of Munch’s art.
In the collection you find major works from all periods of Munch’s artistic career. Among the highlights are “Jealousy”, “Melancholy”, “Woman in Three Stages” and “Evening on Karl Johan Street”.
At Permanenten we show temporary exhibitions across three floors of both contemporary art and works from our own collection.
You might know Permanenten as Vestlandske Kunstindustrimuseum. Traditionally, this is the building housing the collection of fine craft and design, Norwegian silver and the Chinese art collection.
At the top floor you find Festsalen, suitable for hosting various larger events and festive occasions, in addition to the library and meeting rooms.
The museum is currently being renovated and has a limited number of exhibitions on display in 2022-23. Large parts of the collection previously on display in Permanenten is not available at this time.
At Lysverket we show temporary exhibitions as well as permanent works from our collection.
The building is currently scheduled for refurbishment and will until then have selected temporary exhibitions at display.
Right now, you can experience the spectacular new installation by Børre Sæthre in Tårnsalen.
Lysverket is the only Kode building not originally built for museum purposes. The building from 1938 was previously the administration building for the municipal power company Bergen Lysverker, where we got the name from.
Photos from Dorchester Earth Day held at The Great Field, Poundbury on Saturday 23rd April 2023. Many local environmental groups attended and there was entertainment from local groups. It was organised by Dorchester Town Council and Discover Dorchester with with support from: Pavilion in the Park, Bournmeouth University, Dorset CAN, The Embroidery Barn Litter Free Dorset, The Duchy of Cornwall, Waitrose, RiskSTOP Group Ltd and the Poundbury Community Trust.
this was one of the features which led to my decision to purchase this particular filter, rather than the others Rainbow carries.
also note my reuse of the Saint Benoit yogurt container. best yogurt ever.
I found a good use for my old pot de creme container from Miette. I could take it back for my dollar deposit, but it's cute.
another post office out of commission; in operation from 1912 to 2007, with a sorting office added behind, this one is due to become a 'folkehus', meeting place for local societies etc, by the end of 2018
Reusing some layer skills to make a border before I forget and have to relearn them - LoL.
The numeric pad is also called a Numpad of Tenkey for short. I wanted an 'N' for the word game.